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Lecture Brian Holmes on Youtube

The lecture by public critic Brian Holmes, After Chimerica: Art and Bioregionalism in the Anthropocene can now be viewed on the Youtube Channelarrow of the Master Institute of Visual Cultures.

The lecture was given on the 27th of March and was the first public lecture in the Performative Defiance Lecture Series. These lectures are an initiative of the Autonomy Research Chair at the Centre of Applied Research for Art, Design and Technology (Caradt), organized in collaboration with and hosted by the Master Institute of Visual Cultures.

The next lecture is planned Friday 7 June with leading creative industries expert Justin O’Connor about Creative Industries in China: From Catch-Up to Cold War 2.0arrow.

(2020 – 2019) Performative Defiance Lecture Series

The Performative Defiance Lecture Series is an initiative of the Cultural and Creative Industries Chair, organised in collaboration with and hosted by the Master Institute of Visual Cultures, Den Bosch. Its aim is to provide within Avans University of Applied Sciences an open, public forum where some of the foremost national and international voices challenge us to think about and discuss the role of art and design for the creation of a different future, to imagine another kind of world, the kind of world we wish to live in.

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‘Our research group investigates the role artists, designers and cultural producers in general can play in developing the aesthetics and poetics of a desirable future.’

Sebastian Olma is professor Cultural and Creative Industries. He works for the Expertise Centre Art, Design and Technology.

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Research Group: Cultural and Creative Industries

The research group Cultural and Creative Industries investigates the role of artists and designers as creative innovators and drivers of social and economic change. Affiliated researchers analyse the cultural and creative industries from a critical point of view and examine the conditions under which timely forms of aesthetic expression and social connectedness can actually take place within the precarious reality of this field. What economic models are required by artists and designers to create a meaningful practice within the aesthetic, social, and economic intentions of the cultural and creative industries? What skills sets are required for those artists and designers who don’t just want to follow movements, but actually shape novel social and economic models of the future?

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